Tom Felton Quotes

I'll always work with Stones Throw, but I'm trying to start my own label to release my old material and sign new artists. I want to do everything from rock, to jazz, to electronic, to noise records and movie sound tracks. Both sampled and original music.

I have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.

What made me want to become a recording artist; I was the first artist that was repeatedly asked by a label to record with them. That label was Def Jam Records.

I want to make sure that I sign dope artists, old and new, just to make sure that we come up with something new and creative.

There's artists that I'm working with on a new label of mine. Foxy Nova and Supa Nova.

I love producing. I have been producing some acts and starting a label.

When I started Milk! Records, it was a pretty non-profit making venture.

I know it is common nowadays for artists to start labels but this is a thoroughly constructed vehicle for inspired talent. This is a market that we've been living, breathing and eating for our entire lives - one where a huge void currently exists. Favored Nations is a long-term commitment.

Kill Rock Stars allowed me to put out a real genuine rock 'n' roll record.

Jimmy Iovine has been telling me since 2012 that I needed to start my own label with my own artists. This was when he first met me and 'Bandz a Make Her Dance' was first taking off.

Roc was only supposed to be our distributor, but then they ended up recruiting me as the label's artist. They said they really liked my album 'Everything You Wanted.'

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.

After giving countless hit songs, I felt saturated. I decided to do music only for my own films and music albums. And so, I decided to start my own music label.

I want to record many albums, have a healthy record label with talented artists, keep building my publishing catalogue, and maintain our culture with good music that will be remembered for years to come.

I got to meet Kanye West because we were shopping my artist deal, and I was interested in his label. When I met him, I played him all the records I had. He introduced me to Rihanna, and she recorded and cut some of those records.

I always wanted to be a part of a New York-based label, so I've worked really hard to try and network with people that I felt would put me in the right place.

I was signed to A&M, I was signed to Lou Adler, who had a company within a company, which was A&M Records, and everything - James Taylor, Rita Coolidge, Carole King - I worked on all of that stuff.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.

The record company stay out of my way. Whenever the record is finished, they take it.

If I'm not putting out music, I'mma be producing for everybody. I got an artist named Mike Slice. He's nice, and he's real good. I'm doing a bunch of production for all the artists in the industry because I'm as much as a producer as I am an artist.

I certainly don't want to be a record label guy.

When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.

My function at Verve was that of a genuine producer in artists and repertoire.

Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.